Friday evening saw me make a whistlestop trip to the capital to catch up with my old friends The Pouk Hill Prophetz, who were performing a gig at London’s Water Rats.
Coming together through a shared love of Slade and a determination to celebrate the glam era in their own unique fashion, The Pouk Hill Prophetz have been around for a decade now. Never far away from anything Slade-related and raising a ton of money for various charitable endeavours along the way, they’ve long been a fixture at various Slade conventions (which is where I first caught them back in 2016). They even performed at my own Slade book launch last summer which was a huge load of fun.
The band have built up quite a dedicated following over the last ten years and the venue was nicely packed-out for them, their first gig in the capital with new drummer, James Hannington, who joins established Propheteers Nigel Hart and Martin Brooks.
I’ve seen many glam-inspired tribute acts and numerous glam covers bands over the years, but what really sets Pouk Hill Prophetz apart is that they don’t just restrict themselves to the most obvious foot-stomping big hits. You get a good blast of those, of course. But as far as their love as Slade goes, you can always expect a liberal smattering of obscure B-sides, carefully-chosen album tracks and archive material from the early pre-glam days thrown in as well.
Accordingly, tonight starts with a stomping version of ‘Know Who You Are’ – Slade’s last non-hit single before they struck gold with ‘Get Down and Get With It’. ‘Gudbuy Gudbuy’ from Slade’s classic Slayed album makes an appearance, as does ‘Darling Be Home Soon’ and ‘In Like A Shot From My Gun’ from the much-celebrated Slade Alive album.
It’s not just Slade though. They also give us a blast of The Sweet’s ‘Hellraiser’ and T Rex’s ‘20th Century Boy’ and later on a suitably pounding sing-along version of the Bay City Rollers’ ‘Shang-A-Lang’. It’s not even just the glam covers either. We get some great hard-rocking version of ZZ Top’s ‘Tush’ and Billy Idol’s ‘White Wedding’.
Things slow down for an acoustic segment mid-way through, with guitarist Martin Brooks moving on to keyboards for heartfelt renditions of Slade’s ‘Everyday’ and its lesser-known cousin ‘She Did It To Me’ alongside ‘Dapple Rose’ and a highly emotive ‘Old New Borrowed And Blue’. Although taking the title of a Slade album, the latter is not a cover version at all but an original composition cleverly taking fragments of various Slade lyrics from across their career to create a unique and utterly sincere musical love-letter to the famous foursome from Wolverhampton.
A few more raucous classics to round off the evening, including ‘Cum On Feel The Noize’ and ‘Born To Be Wild’ as well as a Slade-inspired vintage rock and roll medley, and then it’s time for me to say some hurried goodbyes and make a swift exit in time to get the last train back to Hastings.
Ahead of the ten-date Lust For Life tour (featuring Clem Burke, Glen Matlock, Katie Puckrik, Kevin Armstrong, Luis Correia and Florence Sabeva) where she will appear as their special guest, I catch up with Suzi Ronson. Suzi was a small-time hairdresser in Beckenham before being swept up in a world which saw her become stylist for David Bowie and the originator of the iconic Ziggy Stardust hairdo as well as falling in love with the late Spiders From Mars guitar icon, Mick Ronson, who she would go on to marry.
You’ve got the Lust For Life tour coming up in February/March this year. Can you tell us about your role in that?
I’m going to be telling a story! A bit like a Moth story when I did that. I think I’m doing it right before the Lust For Life band go on. I’ve got a couple of stories but I think the one I’m going to use is my journey from a little hairdresser in Beckenham, meeting Mrs Jones (David Bowie’s mother) and getting involved with David and going on the road with him. That basically is what it’s going to be about. It was quite a journey that’s for sure!
You mentioned the hair salon in Beckenham and then being introduced to David Bowie. What were your first impressions of David?
The first time I saw David he was wearing a dress walking down Beckenham High Street. So when we all ran out to have a look we were like [mouth wide open] it’s a man in a dress! But when I first met him, he was quite shy really. I mean he wasn’t particularly… Angie was the one who would talk all the time. David was quite quiet. But very determined. Very conscious of what he was doing I think – all the time. He was really ambitious. He was so ambitious, David. I didn’t realise quite how ambitious until I started doing research for my book and I realised that since he was 15 years old, he’d been playing like five nights a week every week anywhere that would take him. And I mean that is dedication for you. I was surprised when I read that. I think it’s that old adage where people say to you, “Oh, it’s overnight success.” But, of course, it’s anything but that. David had been doing this for years before I met him. I just happened in on the pivotal moment I think.
Working as David’s stylist which you went on to be, were you surprised to find just how influential your ideas would be in shaping British pop culture in the early 70s?
No, I mean if you told me that some fifty years later we’d still be talking about this haircut I would never have believed you! I think when the punks came in and they still had that sticking up hair-do which I think was my influence from David. And it changed. I mean David’s hairstyle was originally inspired by a Kansai Yamamoto model But that wasn’t the haircut he ended up with. That was just a little froo at the front. But it developed and evolved and in the end it was definitely my haircut. That long – what was it? – the mullet I suppose is what it ended up being! And the colour!
And, as you say, it had that enduring impact across one different fashion and youth cult to another so it didn’t just come and go.
It didn’t. I still get asked about it. David was asked once what he’d most like to be remembered for and he said, “Always having great hair.” And he was right! I mean he had great hair. He really did. And a great face. I mean I saw 200lb truckers wearing that hair-do and it didn’t look quite the same. David certainly was the perfect person to do this hair on, yes. It helped he was tall and skinny!
And if we can just talk a little bit about Mick as well, one of the dates on the tour is going to be Hull on 1st March. That’s going to be a rather special night surely, in Mick Ronson’s home city?
It’s always a special night when I’m in Hull. It always is. I went to see Turn & Face The Strange (Mick Ronson tribute) there a year or so ago. I mean, I would go every year but I’m not in England all the time. It’s a great show. They took such care to do that show. I think it’s a really good show. And they love Mick in Hull. I think he would be shocked at just how revered he is in Hull still. His old band-mates still play and talk about Mick. And, yes, it will be an interesting evening and I always get a bit emotional when I go to Hull. Because I go and visit him, of course, in his grave and it’s a bit emotional. And it’s also a bit terrifying because they knew him. And I kind of do that accent at some point coz (adopts strong Hull accent) I can take Mick off quite well now. I can talk a bit Hull like. And I’m always a bit nervous to do that up there!
And given it’s the Lust For Life tour, will you be sharing any particular memories of Iggy Pop as well?
Yeah, that’s the other story I’ve got. I’ve got an Iggy story. I met Iggy at the Dorchester Hotel. David, Lou and Iggy were doing a press conference for the American press and it was the culmination of a couple of weeks where they’d all played in London. David had played at Aylesbury. Both Lou and Iggy played at the Scala. I went to the Lou one. I wish I’d gone to the Iggy one because the reviews from that night were like completely outrageous. So I wish I’d gone to that one but I was exhausted, I couldn’t go to them all. And I met him there and then I met him in California. And his hair – he wanted something different so we dyed it blue. And I said to him as I left, “Don’t go in the pool. Don’t wash your hair for a couple of days. Let the colour have time to set.” Well, he paid me no attention whatsoever. He goes in the pool at the Beverly Hills Hotel and left a streak of blue from one end to the other. So those were my two most memorable moments with Iggy.
And if we can move on to another key figure in rock and roll. One of Mick’s long-term collaborators was Ian Hunter who wrote that wonderful tribute ‘Michael Picasso’ when Mick passed away.
Oh my god. I can’t listen to that song. I can never listen to that song. What an amazing song.
It still always brings a tear to my eye when I hear it.
I can’t. I can’t. When Ian does a show he always says, “Suzi, time to leave!” Because I can’t. I’d just sit there and I’d just bawl. It’s such a sad song but it’s such a great song. Ian’s a really good writer.
It must have been incredibly moving hearing that for the first time.
Yes, I mean yeah… Lisa and I for years we would go and see Ian. They’re still friends of mine today. And Lisa and I we’d just look at each other and go, “No please, don’t do this song.” But an incredibly moving song, yes. Brilliant writing. And Mick well deserved it. He was an amazing person, Mick.
Yes it just seemed to capture both the friendship and Mick’s personality in that song.
Yes. Brilliant title. What a title – Michael Picasso. What a great title.
And personally, I became more aware of Mick’s work with Ian Hunter when I was a teenager in the 80s than I did with Mick’s work in the Spiders really.
That first record was just destroyed by managers. The Ian Hunter record that first one they did together, ‘Once Bitten Twice Shy’ – what an amazing record that was. We all thought – hold on, here we go! Managers… Record companies… They were not going to allow that to continue. And it just ended up… I’m amazed that we’ve remained friends to be honest after what went on during that time with Tony Defries and Fred Heller – and they should check their egos at the door but they did not. Especially Tony and they just wanted it all under their control and it’s just ridiculous. Ridiculous really because that should have been a hit record and it should have been a hit touring band. Because they looked fabulous together. It was all working out because Mick had done the Mott thing. I don’t know what went wrong there but that was a massive failure! And then he and Ian decided to work together and do a record. They still couldn’t be a band because we had two different managers and two different record companies and neither one of them wanted to be, you know kind and nice and ‘let’s make something work’. They just didn’t do that. But the record itself, I thought, was fantastic.
Absolutely. And it’s so nice to hear that the friendship has endured all of that.
Yes! I’m seeing Ian in a couple of weeks. I still cut his hair! Isn’t that funny. I still cut his hair!
And finally, is there anything else you want to tell us about the tour before we wrap up?
Oh, come and see it! I think it’s going to be great. That band sold out last year. I didn’t see it – I was in New York – but apparently it was amazing. The whole tour was great. And Katie (Lust For Life band lead singer – Katie Puckrik) I met her and I saw some videos of her and I thought, “Damn, this girl is really good.” I kind of missed her not living in England. I kind of missed what she was doing before. And Glen (Matlock) is an old friend of mine so that’s going to be really nice. And there’s Clem (Burke). I don’t know Clem and I don’t know Kevin (Armstrong) but by all accounts that band are really hot and I can’t wait to work with them. I think it’s going to be a lot of fun.
And I think you’re going to be a fantastic addition to the tour as well!
Slade in the 1970s – my third book for Sonicbond Publishing’s Decades series came out in May 2023, following my books on The Sweet (2021) and Suzi Quatro (2022). All three books are available on Amazon and other major retailers as well as the publisher’s own online shop at Burning Shed.
It’s been great seeing the amount of interest in the book, including a joint interview with Don Powell (pictured here with a copy of my book – definitely a proud author moment!)
Here is a round-up of reviews that have come in so far:
“Covering the titular decade, Johnson provides in-depth analysis release by release, relying heavily on contemporary press. It reads well: interesting, informative and with an amiable personal slant.” – Gerry Ranson RnR magazine
“Another ‘must have’ for the casual Slade fan and anyone who loves a bit of glam rock”– Jason Ritchie, Get Ready To Rock (read full review here)
“As a massive glam rock fan, this is a must-have book” – Martin Hutchinson, Eighth Day magazine
“This neat paperback guide to a glittering 70s heyday recalls a momentous run of singles and albums” – Beat magazine
“As well as listing all single and album tracks, with accompanying background notes, all key elements of the Slade story are covered here.” – Jon Marsh, Wired Up fanzine
Following on from her hugely enjoyable gig at the Albert Hall last year, Suzi Quatro is currently touring the UK once again. An almost capacity-crowd packed out Brighton Dome to witness Quatro mark her half-century since first topping the UK charts with ‘Can The Can’.
The set-list is largely the same as for the Albert Hall performance, spanning the Suzi Quatro back catalogue from 1973 right up to the present day. However, there have been a couple of new albums since last April’s Albert Hall gig and we get a song apiece from each of those: her covers release, Uncovered (here represented by Quatro’s storming interpretation of Creedence Clearwater Revival’s ‘Bad Moon Rising’.) and her duet album with KT Tunstall, Face To Face (here represented by ‘Shine A Light’).
Like last year, there’s no support – just two hour-long sets of pure unadulterated Suzi with just a short break in the middle. Of course, last year’s prestigious Albert Hall gig saw a handful of special guests take the stage, too, in the form of Sweet’s Andy Scott, Slade’s Don Powell and Suzi’s own son, Richard Tuckey. But in truth, hugely enjoyable though these cameos were, no special guests are needed. Quatro’s backing band (these days incorporating female backing singers and a brass section in addition to the classic bass-drums-keyboards-guitar configuration) are absolutely shit-hot.
The first half sees the various phases of Quatro’s fifty-year solo career well-represented, as are the different sides of her on-stage musical persona. From the big glam-era hits like ‘Daytona Demon’ and ’48 Crash’; to the emotive balladry of ‘Can I Be Your Girl?’ from early ‘80s Unreleased Emotion album; to songs from the two critically-acclaimed albums written with son, Richard, No Control and The Devil In Me; to a blistering cover of Neil Young’s ‘Rockin’ In The Free World’.
Now back on stage in her trademark leather jumpsuit, there’s another blast of her more recent material in the second half, including the magnificent ‘Motor City Riders’ celebrating Quatro’s Detroit heritage, as well as more Chinn/Chapman-penned hits and a stomping version of ‘Glycerine Queen’ from Quatro’s first album which is then followed by a pumping extended bass solo.
Soon it’s time for the two songs absolutely everyone has been waiting all night for: ‘Can The Can’ and ‘Devil Gate Drive’. And Suzi implores us all to get up on our feet for these. Sadly, we also know this incredible show is drawing to a close but there’s still time for a joyful, life-affirming communal sing-along to ‘Can’t Give Me Love’ followed by an incendiary rendition of Chuck Berry’s ‘Sweet Little Rock n Roller’. For her final encore Suzi puts down her bass and takes a stool to give us a spellbinding rendition of the Eagles ‘Desperado’.
An incredible show. An incredible fifty years.
Setlist:
The Wild One I May Be Too Young Daytona Demon Tear Me Apart Shine a Light Stumblin’ In 48 Crash No Soul/No Control The Devil In Me Slow Down Rockin’ in the Free World Can I Be Your Girl? Motor City Riders I Sold My Soul Today Bad Moon Rising She’s in Love With You Overload Too Big Glycerine Queen Can the Can Devil Gate Drive If You Can’t Give Me Love Sweet Little Rock & Roller Desperado
My book ‘Suzi Quatro In The 1970s’ published by Sonicbond is available here
A collaboration between UK-based singer-songwriter , Tim Izzard, and US-based lyricist, DJ and owner of Dandy’s Stardust Dive online radio station, Gregory Dobbins, Glitter, Gum & Bubble Pop is twelve tracks of shiny, sparkly, retro pop. It’s an album that unashamedly celebrates both the late ’60s US bubblegum scene and the early ’70s UK glam scene, while also paying homage to the golden age of Hanna-Barbera cartoons through the creation of the duo’s animated alter-egos, Sir Prize & The Twomorrow Knightz.
Tim Izzard and Gregory Dobbins:
“Hear ye, Hear ye!……..The future of the music of the past has arrived……50 years in the making, ‘Glitter Gum and Bubble Pop’ is an album that takes the lyrics of a young American teenager in the 70’s to create a retro-modern Bubble Gum Pop and Neo-Glam sound. The 12 original songs are performed by the fictional, ‘cartoon-like’ Sir Prize & The Twomorrow Knightz just like the old, Saturday morning cartoons of the past.”
“Imagine being young again. A new, weekly cartoon is on TV on Saturday mornings. Each episode includes a song that you can’t help but sing along to till next week’s episode …..when you hear another new song!!!”
“The memories of Hanna-Barbera hang with the ghosts of US 60’s Bubble Gum pop and UK 70’s Glam Rock to produce something for the future from the spirit of the past. Arise ‘Sir Prize & The Twomorrow Knightz’……and strut your stuff!!”
The collaboration came about because Dobbins has been playing Izzard’s solo music on his station for the last three years. A friendship grew out of their shared love of 70s pop with the idea for an album eventually emerging.
Lead single, ‘Automatic Satin Circus’, is an irresistible slice of glam-inspired pop with a crunchy riff, an infectious beat, a Bowie-esque vocal and lyrics celebrating many of the Glam heroes of the era.
‘Little Lambs Dressed As Mutton’ is more the art-school glam favoured by the likes of Roxy Music et al, while songs like ‘Bubble Gum Kisses’ and ‘Stewy Stewy’ nicely capture that archetypal bubblegum sound of The Archies and early Sweet. 70s space rock and the middle of the decade’s Doo-Wop revival also get a look in on the album, too
Packed full of instantly-recognisable sounds even if the songs themselves are unfamiliar, If I didn’t know any better I’d have assumed this was another of those ‘Junkshop Glam’ compilations that had unearthed and repackaged yet more delightfully obscure singles of the era. But it isn’t. These are all brand-spanking-new songs, and Sir Prize & The Twomorrow Knightz are here to inject a much-needed dose of glam-pop into our twenty-first century lives.
To mark the publication of my latest book‘Slade In The 1970s’I was delighted to be at The Trumpet in Bilston, Wolverhampton, recently – along with Martin Brooks and Nigel Hart of the Pouk Hill Prophetz and a sizeable gathering of Slade fans.
Given the heatwave we’d been having all week I started wondering if we’d actually get many people along and thinking that they may well prefer to spend the day in the garden with a BBQ rather than be stuck inside a pub. I needn’t have worried. As soon as I turned up on Bilston High Street laden with a heavy rucksack full of books, I began spotting fans in Slade T-shirts waiting for The Trumpet to open. Phew!
The Trumpet was a regular stomping ground for the four members of Slade back in the day and is still a much-loved and highly-respected jazz venue. One of the musicians who played there regularly was Black Country pianist, Tommy Burton, who appears on Slade’s Old, New, Borrowed & Blue album. There is a blue plaque for him at the pub.
Once inside, Martin and Nigel of the Pouk Hill Prophetz were already busy sound-checking and I got to work setting up a display of my books on what would be the signing table, in front of the stage and handily right next to the bar. By the time things kicked off the pub had filled up nicely.
After an introduction from Nigel, I took to the mic-stand to say a little about my book, explain the concept behind Sonicbond’s Decades series (of which ‘Slade in the 1970s’ is part) and share with everyone how my long-standing love affair with the band came about. Then it was time for questions: What was my first Slade gig? How did I go about researching the book? What made me switch from being a politician to writing about music?
Following a short break where I signed copies of my books and chatted to Slade fans, it was then time for the first set of the day from the magnificent Pouk Hill Prophetz. Coming together through their shared love of Slade, Pouk Hill Prophetz have been together almost a decade now, celebrating the music of Slade and, occasionally, other glam-era icons.
The first set of the day was an entirely acoustic set where Martin and Nigel gave us their own interpretations of a number of Slade classics. From the big hits like ‘Cum On Feel The Noize’ and ‘Coz I Luv You’, to obscure early album tracks like ‘Dapple Rose’, to anthemic B-sides like ‘She Did It To Me’. It was all rather spectacular, but it wasn’t over yet. The duo would be back for two more sets in the evening, including a full electric set towards the end, with a guest drummer and a special outing for a replica version of Dave Hill’s famous Superyob guitar.
Michael Vanoverstraeten adds: “After the afternoon session, my wife and I went back home to fetch the John Birch Super Yob Guitar for Martin to play it in the evening. Martin surely blew the cobwebs of my John Birch Super Yob Guitar blasting out “Born to Be Wild” at the end of the evening.”
Michael Vanoverstraeten with Mick Marsden – a member of the N’ Betweens prior to the Holder/Hill/Lea/Powell line-up that would eventually become Slade
I’d like to thank Diane at The Trumpet for hosting us that day and giving us such a warm and friendly Black Country welcome, I’d like to thank Martin and Nigel of Pouk Hill Prophetz for giving us such wonderful music and I’d like to thank everyone who came along – all brought together through a shared love of Slade. A memorable day indeed.
Radio host, YouTuber, writer and producer, Tokyo-based Mike Rogers has many incredible connections in the world of rock and roll.
I’ve been in contact with Mike on numerous occasions in connection with my music PR work, representing other artists. This time, however, I was the guest on the Mike Rogers Show, talking about my recently-published book on Slade.
You can catch my interview with Mike below, where I talk about my love of ’70s glam, my new book on Slade, my two previous books on Suzi Quatro and The Sweet and my segue from London politics to music writing.
Actually, as The Times noted last weekend I’m not the first ex-London politician to write a book on Slade. Before turning my hand to music writing, I did a sixteen year stint as an elected member of the Greater London Authority (GLA), representing the Green Party. But the first person to write a book on Slade was George Tremlett, a Conservative member of the predecessor body, the Greater London Council (GLC), whose own Slade book came out in 1975.
And below Here we have George Tremlett’s 1975 book ‘The Slade Story’, alongside my own book which came out on 26th May this year.
This week sees the publication of my third book for Sonicbond’s Decades series: ‘Slade In The 1970s’. It follows on from my books on The Sweet in 2021 and Suzi Quatro last year – a glam trilogy if you will!
Here is a round-up of reviews for my previous book on Suzi Quatro. All three books are available on Amazon and other major retailers as well as the publisher’s own online shop at Burning Shed.
“Darren Johnson focuses the same obsessive-compulsive attention to detail that he applied to Sweet in his earlier contribution” – Andrew Darlington, RnR magazine
“An interesting book which should appeal to a wide audience” – John Tucker, Record Collector magazine
“Fascinating read for Suzi Q fans, aging glam rockers and anybody who enjoys a good, informative rock biography.” Jason Ritchie, Get Ready To Rock
Marking the publication of my third book for Sonicbond’s Decades series, Slade In The 1970s, I’ll be at the legendary Trumpet pub in Bilston on 17th June, a traditional stomping ground for the members of Slade in the early days and still a much-loved and highly-respected jazz venue.
Slade In The 1970s previewed this month in Wired Up glam fanzine:
As well as a Q&A and book signing I’m thrilled to announce there will also be a live acoustic set from Martin Brooks and Nigel Hart of the Pouk Hill Prophetz as part of the launch that afternoon (1pm-3pm) as well as a later set that evening (8pm-11pm).
Coming together through their shared love of Slade, Pouk Hill Prophetz have been together almost a decade now, bringing their own unique take on the music of Slade and other glam-era icons.
Martin Brooks, guitarist with Pouk Hill Prophetz: “Darren Johnson has been a friend of the band for many years and we are delighted to support his book launch. It is a great honour for PHP to play a gig at The Trumpet, which is such an important music venue in the Midlands and has been associated with Slade since their glory days in the 70s. It will be a day and a night to remember!”
About the author: A former politician, Darren Johnson spent many years writing about current affairs but after stepping away from politics he was able to devote time to his first love: music. His first book, The Sweet In The 1970s, was published by Sonicbond in 2021, followed by Suzi Quatro In The 1970s in 2022. Now he turns his attention to the first band he truly fell in love with: Slade. A keen follower of both rock and folk, he maintains a popular music blog Darren’s Music Blog and has reviewed albums and gigs for a variety of publications. He lives in Hastings, East Sussex
One of the things that makes the early 1970s my absolute favourite era for music is not only were there so many classic releases coming out of the album-oriented rock acts at the time, like Deep Purple and Pink Floyd, but the singles charts, and what was considered mere pop, were packed with brilliant releases from acts like Slade and the Glitter Band and Suzi Quatro, too.
It wasn’t a completely straightforward division, of course. Bands like Deep Purple would get into the singles charts now and again (‘Black Night’ and ‘Strange Kind of Woman’ both made the Top Ten, for example) and Slade enjoyed three No. 1 albums on top of all of their singles sales. And in reality, the distance between bands like Purple and bands like Slade was not as great as we might imagine – with both bands delivering their own particular brand of loud, guitar-based hard rock.
Where we might perceive the gap to be much more unbridgeable, of course, is when we start considering prog and glam. The classical influences, musical complexity and long solos associated with the world of prog seem a long way away from the handclaps, glitterbeats and chanted choruses from the world of glam.
There were crossovers, however. Only few years after releasing ‘Blockbuster’ and ‘Teenage Rampage’, the Sweet moved into progressive territory with their 1978 Level Headed album. But an early crossover contender must surely be Barclay James Harvest’s 1972 dalliance with glam.
Admittedly, it was released under a pseudonym but the 1972 single ‘Breathless’ (credited to Bombadil and supposedly written by ‘Terry Bull’) was none other than Barclay James Harvest, which saw the Oldham-based prog foursome attempting to make a bid for chart success by playing the likes of Gary Glitter and Chicory Tip at their own game.
Where on earth did the pseudonym Bombadil come from though? According to the Barclay James Harvest website it was inspired by Tom Bombadil, a character in Tolkien’s Lord Of The Rings. Hmmm that is all starting to sound a bit prog and not very glam at all. Perhaps it was the name that let them down in the end then. Sadly, the single failed to make any impact on the charts but since the early 2000s the track (and its B-side ‘When The City Sleeps’) has been made available as bonus tracks on the Baby James Harvest album, leaving us with a wonderful slice of prog/glam crossover.
Darren's music blog 